The New York Clipper (February 1917)

February 14, 1917 THE NEW YORK CLIPPER PALACE Conductor Frederick F. Daab started his overture with "The Star-Spangled Banner," the members of his orchestra And the audience standing the while. Another bill, with only Amelia Bing- ham and Ruth Thomas and her girlies breaking the monotony of an all-man show, started off as if the audience had made up its mind to keep its hands fold- ed throughout. Sports in the Alps, reviewed under New Acts, opened as a promising novelty act of some sort and turned out to be a company of clever acrobats. Willie Solar, programed as "late star of the London Hippodrome," sang two songs in his eccentric style, and did some clever eccentrio dancing. He found it hard to start anything, walking off without at- tracting any attention whatsoever. Number two spot on this bill is not easy going for any one. Even Rockwell & Wood, who were a riot at this house only a few weeks ago, took some little time waking up the usually enthusiastic holiday audience. As soon as they start- ed to sit up and take notice, however, they commenced to gasp at the quick fire comedy of these remarkable comedians. Rockwell's work is so fast and so funny you don't get time to laugh at any one thing in particular, but just ha ha and giggle and gasp and hold your sides until the act is over. Amelia Bingham followed and closed intermission with a couple of fa miliar scenes from "Joan of Arc." The burning at the stake, with electrical effects pro- duced by Ida Fuller, waa particularly realistic. Her last words, "Tell my father and mother I would have loved them more had I loved my country less," were delivered with telling effect. Mclntyre & Heath opened the second half with a revival of "The Georgia Min- strels." The familiar lines, "If I ever get back to that livery stable again," "That train never even hesitated," "I didn't per- spire to be a regular actor," "That's a trade I learned I never worked at," and the ham tree talk, registered the same old spasms of laughter. Jack Xorworth, in his second -week, sang some new songs and showed a film explaining it was his trip around the world. He waa really a greater hit than last week. Not that he has any better offering, but he seems to be hitting his old stride, and the public was quick to notice it. New words to an old song, "Order, Please, Silence in the Gallery," proved a very good number. "I Won- der Where She Learned to Love," "Wake Up With a Smile" and "A Modern Maiden Prayer" were all new numbers that were liked immensely. Ruth Thomas, a charming new dancer, assisted by Stafford Pemberton & Co., in a beautiful dancing production entitled "Stories Without Words," is reviewed under New Acts. The "Patria" picture, featuring Mrs. Vernon Castle, showed Patria being res- cued from her forced plunge into the channel last week. Also the blowing up of an island stored with dynamite put there by the deep-dyed villains. SHOW REVIEWS (CoatwnxJ on pan 17) RIVERSIDE . Monday night was Lincoln's Birthday, and the house, as a combined result of the holiday and the unusual quality of vaudeville offered, was completely sold out at 8 o'clock. Nat C. Goodwin, on fourth, gave a touch of class to the bill with his de- lightful reminiscences. Goodwin's stories all contain good points, and are related with the ease and charm of the expert raconteur. The tale about Nathan Hale and the stuttering yarn seemed to be the best liked of the lot. A casual reference at the start to his matrimonial experi- ences placed Goodwin on easy terms with his audience. Fay Templeton, after doing everything she usually does in her regular act, re- sponded to a request for that old favor- ite of Weber & Field's days. "Eoaie, Yon Are My Posie." The "old mammy" bit in black face went particularly well Mon- day night and, if the attitude of the audi- ence goes for anything, she was assuredly deserving of the numerous floral tributes she received at the finish of her specialty. Bradley and Ardine opened and won out by their unusual versatility. The turn is costumed in the best of taste, and the songs, dances and bicycle stunts all presented in a distinctive manner. The scenic setting is bright, and lends a pleas- ing atmosphere to the dancing numbers, especially. Charlie Oleott registered a hit with his comic opera at the piano. Oleott has a quiet manner of working and without forcing matters managed to keep the laughs rippling continuously while he was on the stage. The recitation about the pealing bells is cleverly delivered, and evidences the fact that Oleott can handle a serious subject with genuine dramatic effect. Moon & Morris are first-class examples of the best that England has to offer in the way of dancing comics. The double dancing scored its customary success, and the "swell" number, with its eccentric stepping, made a great closing song. Mme. Doree's Celebrities are a welcome innovation. The grand opera excerpts are capably sung and presented, and the cos- tumes the exact replica of those worn by the originals. Whoever sung the Traviata number has a real voice. William Gaston & Co. in "Kisses" never went better than they did Monday night. The bright lines of the little play- let are full of laughs, and the act as a whole offers entertainment of a superior sort. Belle Baker closed the vaudeville sec- tion and made a speech after singing some six or seven songs, including a couple of requests. The Italian character song, the lyrics of which suggests the dialog of a team of Italian comedians currently playing in vaudeville, is a young riot. Miss Baker right now is doing one of the best song routines she has ever presented in vaudeville. COLONIAL Monday was Lincoln's birthday and Manager Darling had the S. R. O. sign out half an hour before the show opened. Tanguay evidently vied with Honest Abe for drawing power, but, judging from her routine of songs, one would surmise that the Bombshell of Joy thinks she has the Illinois railsplitter backed off the map for general popularity. Her first numbers received a cold recep- tion, but after she had done her wooden shoe dance, the rest was easy. She took down several encores, all the while telling the audience what she thought of one Eva Tanguay. If modesty is virtue, this rou- tine is a crime. Raymond Wilbert opened. He has a nifty setting, using golf links for a back- ground. With two sticks, one in each hand, he picks up a golf bag and keeps it dangling in midair, the while changing the positions of his hands. At one time he has one of them around and between his legs. Wilbert's mainstay is with hoops, on which he puts some uncanny twists. With a net having a frontage of not over three feet, he sends the hoops staggering around the stage and finally rolling into the opening in the net. This was a clever opening turn. The Three Steindel Brothers have a repertoire of musical numbers which will please any audience. One works at the piano, one violin and one cello. Their routine has been well chosen, and their tuneful selections are put over in a pleas- ing way. They got a big hand in the early spot. The act is classy. "A Drawing from Life" was offered in number three spot by Arthur Sullivan and Ricca Scott. The turn is of a domestic nature, and portrays in a way that's true to life the troubles of a hard-working race- track toot in keeping his wife in jobs. Harry Carroll offered a medley of his famous melodies in a pleasing manner, taking down several encores and half a dozen bows. Bert Baker and his company came along in next to intermission and kept the house roaring at the funny situations of another domestic tangle. The author lets the untruthful spouse keep sinking deeper and deeper, and then suddenly breaks off the action with the curtain, while the spouse threateningly waives the proverbial Irish confetti. At best this Is only a shallow sketch, but the lines and business are funny and Baker, and Pearl Stevens, as the wife, are funnier. A number called the Skating Venuses opened after intermission. There are three girls in the turn, all clever roller skaters and neatly dressed. George Rockwell and Al Wood tour through the ocean of nonsense to good re- sults. They eat up a lot of the dictionary in their early routine and end with some "musical" numbers that are sure fire. Their encore is too abrupt "Patria" closed. ALHAMBRA Nolan & Nolan start this week's bill at the Alhambra with a lot of speed. Their juggling is cleverly done. Donald Kerr and Erne Weston follow in songs and dances, with the accent on the latter, for it is their dancing that wins them their applause. They make a very neat appearance, and Miss Weston's dresses are in extremely good taste. Charlie Ahearn, with his flock of ec- centric comedians and freak bicycles, had the audience laughing every minute dur- ing his turn. The dance that has been injected into the acta was well liked by Monday night's audience. George M Rosener, with his English "dope" and CAR. types, had no trouble in going over big. The last type is par- ticularly well portrayed, but would gain in effect with just a little less of the affected melodramatic in the portrayal. He responded to the applause with the re- mark that "to an actor applause is the sweetest harmony of alL" Hugh Herbert's playlet, "The Predic- tion," is well acted. While -its plot is rather dull, Herbert's acting holds the attention of the audience throughout. The audience came to see Evelyn Nee- bit. This could be seen by the applause which greeted her entrance after inter- mission. At the close of her act it was probably less than upon her entrance, due to the fact that her act baa no par- ticular merit save for the artistic special sets for her different song numbers. Her singing Is only fair, and her appearance is disappointing. Her partner, Jack Clif- ford, has hardly anything to do. The audience was curious to see this much-talked-of woman. They expressed their appreciation with applause, when their curiosity was satisfied. They were only mildly interested In the act itself. Joe Towle, dressed as an Alhambra card-boy, found it rather easy going. The audience seemed to like the way he took them into his confidence, and laughed at and applauded everything he did The moving picture piano specialty went over particularly well, as did his encore piano numbers.' The bQl was closed by Joseph B. How- ard and Ethelyn Clark. How many changes of costume the girl in the act made cannot be accurately recorded. They were made in lightning fast time, one upon the other and each more ex- quisite than the one before. She pre- sents a beautiful stage picture. When the audience applauded at the end of the act Howard responded with the same en- core over and over again, *MnH«.g that the audience wanted to hear a new song he "just had written" when, in reality, the applause was mostly for Miss Clark and her lavish costumes. UNDER FILM OPENS SUNDAY The initial showing of the first Ameri- can comedy in which Max Linder, the foreign comedian, appears has been ad- vanced one week on the program of the Strand It win take place Sunday in- stead of a week from that day. The title is "Max Comes Across."